Lawrence Bennett is Professor Emeritus of Music and former Chair of the Music Department at Wabash College. He founded the Western Wind, a vocal ensemble that has toured professionally throughout North America, Europe, and Asia.

"This is an important book. It deserves to be warmly welcomed not only by scholars but also by performers of Baroque vocal chamber music, who will find many interesting avenues to explore."—Early Music"[T]his book is to be recommended as shedding light on an important yet seldom-discussed repertory, written by someone whose expertise is unquestionable."—Music and Letters"By taking multiple analytical approaches, Bennett establishes an overall understanding while also demonstrating how individual composers approached the genre. . . . Recommended."—Choice"The book is of great use in providing a panorama of vocal chamber music during the age of Leopold I and Joseph I, identifying the characteristics of their patronage, and giving an important overview of musical entertainments at the imperial court. . . . With this book, Professor Bennett provides scholars with an important tool for understanding the context in which cantatas were composed and performed, and in which the Hapsburgs' important music collection . . . was created."—Notes"Lawrence Bennett is the best possible scholar to explore the breadth and depth of the Italian Cantata in Vienna before Charles VI began his reign in 1711. He is a professor, choral director, and professional tenor who has studied Viennese cantatas for half a century, and can now date them stylistically and evaluate the worth of each one within its style group."—Lowell Lindgren, Massachusetts Institute of Technology"This book contains a wealth of new information. It comes from a scholar who writes clearly and perceptively, and who has devoted decades of attention to the material."—Steven Saunders, Charles A. Dana Professor of Music, Colby College

• PrefaceList of Bibliographical AbbreviationsList of RISM Sigla1. IntroductionThe Role of Music in the Daily Lives of the HabsburgsThe Scope of the BookThe Secondary LiteratureThe Cantata TerminologyForerunners of the Cantata in ViennaPart I: The Cantata in Vienna, 1658-17002. The Political and Cultural MilieuHistorical BackgroundLeopold I as Patron and ComposerHabsburg Music Chapels, 1658-1700Occasions, Places of Performance, and PerformersLibrettists3. The ComposersComposers Who May Have Written Cantatas for Vienna During the EarlyReign of Leopold IAntonio and Carlo DraghiFilippo VismarriCarlo CappelliniGiovanni Battista PederzuoliAntonio Maria and Giovanni Buonaventura VivianiGerman-Speaking Composers4. Repertoire and SourcesThe RepertoireThe Sources5. Text and MusicAntonio Maria VivianiAntonio BertaliFilippo VismarriCarlo CappelliniGiovanni Battista PederzuoliAntonio and Carlo DraghiPart II: The Cantata in Vienna, 1700-17116. The Political and Cultural MilieuHistorical BackgroundJoseph I as Patron and ComposerCultural GrowthHabsburg Music Chapels, 1700-1711Genre DesignationsOccasions, Places of Performance, and PerformersLibrettists and Librettos7. The ComposersCarlo Agostino BadiaGiovanni BononciniMarc'Antonio ZianiAttilio AriostiAntonio Maria BononciniComposers Who May Have Written Cantatas for Vienna8. Repertoire and SourcesNew Interest in the CantataThe Repertoire of Cantatas by Habsburg ComposersSources9. Style OverviewThe Style TransitionBroad Structural PlansSelection of VoicesInstrumentationDynamicsRecitative and AriosoAria KeysContinuum (Tempo/Meter)The Use of DevisenAria Designs10. Aspects of FormThe Conventional Da Capo DesignVariants from the Conventional DesignArticulation of Form11. Melody, Harmony, and RhythmMelodyHarmonySurface RhythmChanges in Timbre12. The Relationship of Text and MusicThe Text and Its Influence upon the Musical DesignThe Interactions of the Text with Melody and RhythmTone Color and DynamicsDescriptive Treatment of the TextAffective Treatment of the Text13. Conclusion: The Interregnum and Its AftermathThe End of the War of the Spanish SuccessionThe Fate of the Cantata Composers and Librettists Who Served Joseph IThe Cantatas by Composers Residing in Vienna During the InterregumAppendix A: Index of Cantata Text Incipits and SourcesAppendix B: Catalogue Raisonné of Viennese Cantata SourcesAppendix C: Texts of Arias Analyzed in Chapters 10-12NotesBibliography

Lawrence Bennett is Professor Emeritus of Music and former Chair of the Music Department at Wabash College. He founded the Western Wind, a vocal ensemble that has toured professionally throughout North America, Europe, and Asia.

"This is an important book. It deserves to be warmly welcomed not only by scholars but also by performers of Baroque vocal chamber music, who will find many interesting avenues to explore."—Early Music"[T]his book is to be recommended as shedding light on an important yet seldom-discussed repertory, written by someone whose expertise is unquestionable."—Music and Letters"By taking multiple analytical approaches, Bennett establishes an overall understanding while also demonstrating how individual composers approached the genre. . . . Recommended."—Choice"The book is of great use in providing a panorama of vocal chamber music during the age of Leopold I and Joseph I, identifying the characteristics of their patronage, and giving an important overview of musical entertainments at the imperial court. . . . With this book, Professor Bennett provides scholars with an important tool for understanding the context in which cantatas were composed and performed, and in which the Hapsburgs' important music collection . . . was created."—Notes"Lawrence Bennett is the best possible scholar to explore the breadth and depth of the Italian Cantata in Vienna before Charles VI began his reign in 1711. He is a professor, choral director, and professional tenor who has studied Viennese cantatas for half a century, and can now date them stylistically and evaluate the worth of each one within its style group."—Lowell Lindgren, Massachusetts Institute of Technology"This book contains a wealth of new information. It comes from a scholar who writes clearly and perceptively, and who has devoted decades of attention to the material."—Steven Saunders, Charles A. Dana Professor of Music, Colby College

• PrefaceList of Bibliographical AbbreviationsList of RISM Sigla1. IntroductionThe Role of Music in the Daily Lives of the HabsburgsThe Scope of the BookThe Secondary LiteratureThe Cantata TerminologyForerunners of the Cantata in ViennaPart I: The Cantata in Vienna, 1658-17002. The Political and Cultural MilieuHistorical BackgroundLeopold I as Patron and ComposerHabsburg Music Chapels, 1658-1700Occasions, Places of Performance, and PerformersLibrettists3. The ComposersComposers Who May Have Written Cantatas for Vienna During the EarlyReign of Leopold IAntonio and Carlo DraghiFilippo VismarriCarlo CappelliniGiovanni Battista PederzuoliAntonio Maria and Giovanni Buonaventura VivianiGerman-Speaking Composers4. Repertoire and SourcesThe RepertoireThe Sources5. Text and MusicAntonio Maria VivianiAntonio BertaliFilippo VismarriCarlo CappelliniGiovanni Battista PederzuoliAntonio and Carlo DraghiPart II: The Cantata in Vienna, 1700-17116. The Political and Cultural MilieuHistorical BackgroundJoseph I as Patron and ComposerCultural GrowthHabsburg Music Chapels, 1700-1711Genre DesignationsOccasions, Places of Performance, and PerformersLibrettists and Librettos7. The ComposersCarlo Agostino BadiaGiovanni BononciniMarc'Antonio ZianiAttilio AriostiAntonio Maria BononciniComposers Who May Have Written Cantatas for Vienna8. Repertoire and SourcesNew Interest in the CantataThe Repertoire of Cantatas by Habsburg ComposersSources9. Style OverviewThe Style TransitionBroad Structural PlansSelection of VoicesInstrumentationDynamicsRecitative and AriosoAria KeysContinuum (Tempo/Meter)The Use of DevisenAria Designs10. Aspects of FormThe Conventional Da Capo DesignVariants from the Conventional DesignArticulation of Form11. Melody, Harmony, and RhythmMelodyHarmonySurface RhythmChanges in Timbre12. The Relationship of Text and MusicThe Text and Its Influence upon the Musical DesignThe Interactions of the Text with Melody and RhythmTone Color and DynamicsDescriptive Treatment of the TextAffective Treatment of the Text13. Conclusion: The Interregnum and Its AftermathThe End of the War of the Spanish SuccessionThe Fate of the Cantata Composers and Librettists Who Served Joseph IThe Cantatas by Composers Residing in Vienna During the InterregumAppendix A: Index of Cantata Text Incipits and SourcesAppendix B: Catalogue Raisonné of Viennese Cantata SourcesAppendix C: Texts of Arias Analyzed in Chapters 10-12NotesBibliography